Emotional ratings of music excerpts in the western art music repertoire and their self-organization in the Kohonen neural network

  title={Emotional ratings of music excerpts in the western art music repertoire and their self-organization in the Kohonen neural network},
  author={Kari Kallinen},
  journal={Psychology of Music},
  pages={373 - 393}
  • K. Kallinen
  • Published 1 October 2005
  • Psychology
  • Psychology of Music
Suggestions for basic emotional music excerpts in the western art music repertoire were collected through a survey that was sent to about 500 music professionals. A total of 78 music excerpts were then tested in the listening experiments 1 (n = 44) and 2 (n = 55), considering emotional quality and intensity, and the topological organization of the music excerpts in the basic emotion dimensions (i.e. joy, sadness, anger, fear, surprise and disgust) was examined using Kohonen’s neural network… 
Emotions evoked by the sound of music: characterization, classification, and measurement.
The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies by introducing a domain-specific device to measure musically induced emotions--the Geneva Emotional Music Scale.
Basic emotions expressed in music: factor analyses on intensity ratings by non-musical professional Chinese university students
This study explored emotional domains through a dimensional approach based on the intensity ratings on the emotion perceived in music, and offered evidence to delineate basic musical emotions into seven domains.
The role of emotion and context in musical preference
  • Y. Song
  • Psychology, Computer Science
  • 2016
This thesis compile a Western popular music emotion dataset based on online social tags, and present a music emotion classification system using audio features corresponding to four different musical dimensions, and investigates emotional uses of music in different music-listening situational contexts.
Music Communicates Affects, Not Basic Emotions – A Constructionist Account of Attribution of Emotional Meanings to Music
This approach proposes that the phenomenon of perception of emotions in music arises from the interaction of music’s ability to express core affects and the influence of top-down and contextual information in the listener's mind, in order to solve past conflicting findings.
Predicting emotional response to music through a compound neural network
The emotional effects of music have a cross-cultural component that can be explained through the tonal and non-tonal properties of musical pieces. To investigate the relationship between music and
While the intimate connection between music and emotion has been variously studied, the focus has predominantly been on Western classical music. Different musical features have often been linked to
The influence of mode and musical experience on the attribution of emotions to melodic sequences.
The power of music to elicit emotion is intuitively understood. As Robert G. Ingersoll noted "Music expresses feeling and thought, without language. It was below and before speech, and it is above
Emotion perceived and emotion felt: Same and different
Abstract The goal of the present study was to examine the relationships and differences between emotion perceived (i.e., the emotional quality expressed by music) and emotion felt (i.e., the
Listeners’ perceptual and emotional responses to tonal and atonal music
Research in music and emotion has largely focused on responses to tonal music on isolated occasions. This article presents a novel approach to the study of music and emotion that investigates the
A comparison of the discrete and dimensional models of emotion in music
The primary aim of the present study was to systematically compare perceived emotions in music using two different theoretical frameworks: the discrete emotion model, and the dimensional model of


Emotional Reactions to Music by Gender, Age, and Expertise
Experts in music and nonexperts ascribed similar emotions to pieces of music and there was no difference in emotional response to music by gender, although women linked to music stronger emotions of anger than girls.
Emotional Expression in Music Performance: Between the Performer's Intention and the Listener's Experience
Nine professional musicians were instructed to perform short melodies using various instruments - the violin, electric guitar, flute, and singing voice - so as to communicate specific emotional
Music and emotion: perceptual determinants, immediacy, and isolation after brain damage
The results show that emotional judgments are (a) highly consistent across subjects and resistant to brain damage; (b) determined by musical structure (mode and tempo); and (c) immediate.
A Developmental Study of Children's Interpretation of Emotion in Music
The purpose of this study was two-fold: (1) to determine whether develop- mental, gender-based, or emotion-based differences exist in children's ability to interpret emotion in music, and (2) to
Musical Expression of Moodstates
Three different age groups (5- and 10-year-old children, and adults) were asked to link a number of selected excerpts of music to one of the four moodstates: "happiness", "sadness", "fear" and
Assessment of the Affective Response to Music with Clynes's Sentograph
This study investigates the possiblity of measuring affective responses to sounding music with the "sentograph" developed by Clynes. This instrument measures dynamic motor behaviour, which is known
Cue utilization in communication of emotion in music performance: relating performance to perception.
  • P. Juslin
  • Medicine, Psychology
    Journal of experimental psychology. Human perception and performance
  • 2000
This study describes the utilization of acoustic cues in communication of emotions in music performance and indicated that performers were successful at communicating emotions to listeners, performers' cue utilization was well matched to listeners' cues, and cues utilization was more consistent across different melodies than across different performers.
A multidimensional study of perceptual-emotional qualities in music.
  • L. Wedin
  • Psychology, Medicine
    Scandinavian journal of psychology
  • 1972
Forty musical excerpts were judged in terms of emotionally coloured adjectives using a check-list procedure and different types of sorting procedures and nonmetric multidimensional scaling was applied.
Current trends in the study of music and emotion: Overture
The study of musical emotion is currently witnessing a renaissance. However, the literature on music and emotion still presents a confusing picture. The conceptual terrain is still being mapped, and
The Development of Affective Responses to Modality and Melodic Contour
Although it is well established that melodic contour (ascending vs. descending) and modality (major vs. minor) evoke consistent emotional responses in adult listeners, the mechanisms underlying